Dave F

I haven't seen any multiply pick guards as original on standard J50/J45. This is the era they were using the Gibson Sonic logo on the guard. I think the '69's were square shoulder guitars. When I recently fixed up as '68 I had a sonic guard made but they could only do white. I think most of them had a brown swirl. I wound up leaving the guard off. These picts are not of my guitar.

Even though I have no need of pickups nowadays, I still like to experiment and try things out. I have enough acoustics with and without pickups that I shouldn't be concerned with it. On the '68 J50 I just fixed up, Iput an Anthem in it. The under saddle with a microphone with a bone saddle. I was very impressed with the sound. I slapped a rare earth on an Alverez parlor a couple weeks ago. I was impressed. I had a Jackson Browne with the Trance system. It was the truest acoustic sound I've ever heard. It was also a pain in the a$$ to lug around. Just this past week I picked up a J160e. I haven't got around to checking out the P90 yet. Enjoy that j45!

I think that would defeat the purpose of why most switch to a bone saddle. Just my opinion. You should be able to just pull that woven wire out from underneath without doing anything that cannot be put back if you want to compare the sound. That would only make a slight difference in your saddle height. It will give you an idea of what the bone against wood transmitting to the top sounds like.

Last check in was July this year. If https://forum.gibson.com/profile/111800-diego-bernardon/ would PM him, he may get a message alert via email.

Does your bridge have the under-saddle pickup? According to the specs, it should have a LR Baggs VTC Under Saddle Pickup. Most switch to a bone saddle to get that bone to wood connection. I would think if you slid out that wire, the sound would be very different. Whether you like it or not ???????? I've had tusq saddles naturally get string grooves in them.

I have no issues with a natural finish headstock with the logo. I've had a few.

I bought a 68 J50 that lived a rough life. While not doing too much cosmetically to it, the stripped head stock bugged me so I redid it while trying to not make it too pretty.

I've bought from them and also consigned with them. They're very responsive and I expect you will have no issues.

For those not familiar, Frank was a renowned guitar repairman that enjoyed sharing his tricks. I've learned a lot from his posts. RIP: Frank Ford, Guitar Repair Hero - Fretboard Journal Frank Ford – Gryphon Strings FRETS.COM Acoustic guitar instrument care, repair for players, luthiers

Maybe you can call Gary and see if you can buy one of the pins from this listing. 1917 Gibson Style U Harp Guitar | eBay Gary's Classic Guitars is local to me (Loveland, OH), and I've called him on a couple occasions for advice. A very nice guy. Another source for me would be Bob Willcutt at Willcut Guitars in Lexington, KY. I've visited him to get an appraisal for a guitar and he couldn't be nicer. He has a private guitar collection he showed me that included a U Harp guitar. Either guy may be able to guide you to finding a bridge pin. I would imagine you could email them.

Sounds great!

That puts it at 1948 or higher. does the bridge belly point toward or away from the headstock?

Looks like a Southern Jumbo/ Country Western Look at the info below to try to get an idea. Really need more picts to help more. Only thing we see is Natural finish, bound fret board, 19 frets which suggest a 1954 or early 1955. I don't know if they made natural finish prior to '54. From Vintage Guitars Info - Gibson flattop vintage guitar collecting (guitarhq.com) Southern Jumbo (SJ), Country Western, SJN, SJN Country Western Flattops Available: 1942 to present Collectibility Rating: 1940's models: B+. 1950's models: B-. 1960's square shoulder models: D-. Rumor has it Gibson made this model for their sales reps below the Mason-Dixon line. Basically the SJ was a replacement for the J-55. The Southern Jumbo is a great model, basically a fancier version of the J-45. An excellent model, fairly easy to find but a great guitar. I love this model, especially the "banner logo" versions! 1942 Southern Jumbo introduction specs: 16" wide, round shoulder dreadnought shape, mahogany back and sides and neck, mahogany neck and neck block, bottom belly bridge (belly towards endpin, which was the opposite of what all other flattop Gibsons used after WW2) with 2 pearl dots, some models with rectangular bridge instead of a bottom belly bridge, multiple bound top and back, constrasting wood strip down center of the back, neck heel sometimes caped with white celluloid, fire striped teardrop shaped pickguard, double parallelagram pearl fingerboard inlays, "Only a Gibson is Good Enough" gold silkscreened banner logo, unbound rosewood fingerboard with 19 frets, some with ebony or maple non-adjustable truss rod, multiple soundhole purfling, sunburst finish. Two batches of rosewood back and side SJ's were made, FON batch number 910 and 2005. 1943 Southern Jumbo specs: tortoise grain pickguard material, no neck heel celluloid cap. Many made with poplar neck block (instead of mahogany) and non-adjustable ebony or maple truss rod, and some with a black "skunk stripe" down the center of the top. Also laminated maple necks were quite common. Laminated maple back and sides are also sometimes seen (rare). 1944 Souther Jumbo specs: adjustable truss rod is the norm. 1946 Southern Jumbo specs: No "Only a Gibson..." banner, but still used old style "Gibson" gold script logo. 1947 Southern Jumbo specs: Bound fingerboard, fingerboard inlays now pearloid (celluloid, instead of pearl). 1948 Southern Jumbo specs: new style "Gibson" gold block logo. 1949 Southern Jumbo specs: "top belly" bridge (belly towards soundhole, as used on most other flat tops models of this period). This style of belly bridge is better, as the belly does not interfere with the vibration of the top between the bridge and the endpin. 1954 Southern Jumbo Natural (SJN) specs: natural finish offered and called the "SJN" ("N" for natural top). 1955 SJN/Country Western specs: SJN natural finish now called the "Country Western." Pearl "Gibson" peghead logo replaces gold silkscreen, and pearl crown peghead design added to this model (both SJN and Country Western seen with pearl peghead attributes in 1955.) Mid to late 1955 Southern Jumbo specs: Longer pickguard with point at upper bout, one additional fret added (20 frets total), lower non-scalloped top braces used, pickguard shape changed from teardrop to a pointed style. 1960 Country Western specs: Country Western renamed back to "SJN". 1961 Southern Jumbo, SJN specs: Adjustable saddle bridge, cherry sunburst also offered. 1962 SJN specs: SJN renamed "SJN Country Western". 1963 Southern Jumbo and SJN Country Western specs: Square shoulder dreadnought body shape, 3 point pickguard, plastic bridge. 1964 SJ and SJN specs: rosewood bridge with adjustable saddle. Southern Jumbo and SJN Country Western discontinued 1977, and then reintroduced in 1991 (with round shoulders). Model still available today.

I've had them worse than that. A lot worse.

My guess would be '54 transitioning to '55. Has the newer 20 fret neck introduced for 1955 but a leftover pickguard from pre-'55.

Looks like a custom L00 with a truss rod cover that bears the name of her first album "SOUR". I would guess her color is Grape, so it projects SOUR Grapes. Just a guess. "

I was #25, 26, 27. I have three YouTube profiles.

That looks like a lot of work plus a lot of tooling required.

A bunch of old farts around here

72

I don't think the original is targeted as a remake of one of a '30's model. Most of the remakes will have features of the '30's such as V-neck shape, a little longer scale length, fabric stays inside the body, wider nut, and wider string spacing at the bridge. The only thing old looking I see on this model is the tuners and logo which I like. I think the Legend was modeled after Lee Roy Parnell's 1397 L00 I have the 1932 L00 Reissue. I've never read where it was modeled after someone's guitar. You have a nice looking guitar. It's up to you to make it a classic and have them make reissues of it 50 years from now. Enjoy!

My issue was with a Nick Lucas 12 fret Mystic Rosewood. I first bought one from MF. When I received it the bridge plate was chewed up from being out of position and being drilled on the edge. I returned it. I then saw one at CME. I explained my problem I had and asked them to double check the one they had for that issue. They got back to me, assured me it was okay, and I bought it. It had the same issue. Then the salesman ( George Coutretsis, currently with Vintage SS) got involved and asked me if I wanted to return it or try to get it repaired at Gibson. I chose the latter, and they really took charge. It had the plate replaced and I couldn't be happier with it. I'm glad I worked with them.

But why did they send that one to you in the first place? I had a similar issue with CME. They made good on it, but why was it shipped to me in the first place?